UBAMV 
SCHOM. 


BOOK-PLATES  of  TO-DAY 

Edited    By    WILBUR    MACEY    STONE 


NEW  YORK 

TONNELK     &     COMPANY 

1902 


COPYRIGHTED     1  9O2     BY    ToNNEI-E    &    Co. 


TABLE    OF    CONTENTS 


Book-plate  of  Mrs.  Amy  Ivers  Truesdell,  in  colors.  De- 
signed by  Jay  Chambers.  ....      Frontispiece 

Book-plate  of  Arnold  William  Brunner,  in  colors.      Designed 

by  Thomas  Tryon.  ....         Facing     3 

American  Designers  of  Book-plates  :   William    Kdgar   Fisher. 

By  W.  G.  Bowdoin.  ....  .^i 

Book-plate  of  William  Frederick  Havemeyer,  from  the  cop- 
per. Designed  by  Thomas  Tryon,  engraved  by  K.  D. 
French.  ...... 

Nineteen  Book-plates  by  British  Designers. 

Book-plate  of  T.  Henry  Foster,  in  colors.  Designed  by  Jay 
Chambers.  ..... 

The  Artistic  Book-plate.      By  Temple  Scott. 

Book-plate  of  Miss  Henrietta  M.  Cox,  in  colors.  Designed 
by  Thomas  Tryon.  .... 

Thirty-two  book-plates  from  various  sources 

Book-plate  of  Robert  Fletcher  Rogers,  in  colors.  Designed 
by  Homer  W.  Colby.  .... 

Book-plates  and  the  Nude.      By  Wilbur  Macey  Stone. 

Book-plate  of  Willis  Steell,  in  colors.  Designed  by  Thomas 
Tryon.  ...... 

The   Architect   as   a    Book-plate  Designer.      By  Willis  Steell. 

Book-plate  of  William    A.    Boland,  in    colors.      Designed    by 

Homer  W.  Colby.  ....  Facing  45 

A  Check-list  of  the  Work  of  Twenty-three  Book-plate  De- 
signers ot  I'rominence.  Compiled  by  Wilbur  Macey 
Stone.  ......  45 

225769 


Facing 

9 

9 

Facing 

'9 

19 

Facing 

23 

23 

Facing 

.^3 

33 

Facing 

.^9 

39 

AMERICAN  DESIGNERS  ^/BOOK- 
PLATES :  WM.  EDGAR  FISHER 


By  W.  G.  BOWDOIN 

THE  book-plate  designers  of  to-day  are  legion 
because  they  are  many.  Almost  every  one 
who  can  draw,  and  many  who  cannot,  have 
ventured  into  the  field  of  book-plate  designing ; 
and  the  result  has  been  that  many  of  the  book- 
plates that  are  current  have  little  to  commend  them 
to  critical  observers.  The  present  increasing  in- 
terest in  these  little  bits  of  the  graver's  art  has 
greatly  encouraged  the  production  of  them,  and 
new  ones  arise  daily.  It  is  desirable,  therefore,  if 
we  are  to  have  book-plates  at  all,  that  they  shall 
be  as  artistic  as  may  be ;  and  it  is  important,  from 
an  art  standpoint,  to  all  those  who  are  about  to 
adopt  the  use  of  these  marks  of  ownership  that 
they  shall  have,  as 


By  Wm.  Edgar  Fisher 


they  may  have, 
the  artistic  flavor  about  them. 

Most  of  our  leading  designers  have 
hitherto  been  grouped  in  the  eastern  sec- 
tion of  our  country,  or  at  least  not  much 
further  west  than  Chicago.  Some  few 
designs,  it  is  true,  have  been  produced  in 
California,  but  for  the  most  part  the  book- 
plates of  note  have  been  marked  with  an 
eastern  geographical  origin. 

In  William  Edgar  Fisher  we  have  a 
designer  who  has  strikingly  departed  from 
geographical  conditions  of  book-plate  de- 
signing heretofore  prevailing,  and  in  far- 
away Fargo,  North  Dakota,  has  set  up  his 
studio  from  whence  have  come  designs  that 
are  fresh,  original  and  very  pleasing.  Mr. 
Fisher  loves  to  work  in  a  pictorial  field. 
He  makes  a  plate  that  tells  a  story,  and  in 
his  best  plates  there  is  artfully  placed 
something  bookish  that  harmonizes  with  the 
design-form  selected ;  and,  because  of  art 
coherence  and  harmony  in  design  that  go 


EX   LIBRI5      1 

■' 

P 

P^^^ji^i 

$ 

WINIFRED 
KNIGHT 

By  Wm.  Edgar  Fishei 


hand  in  hand,  his  plates  are  more  than  satisfactory.  The  general  eastern 
notion  in  regard  to  North  Dakota  is  that  nothing  artistic  can  come  out  of 
the  State,  but  the  work  done  there  by  Mr.  Fisher  quickly  dispels  such  an 
idea.  The  plates  he  has  drawn  are  acknowledged  as  highly  meritorious  by 
the  best  American  masters  of  book-plate  designing.  In  all  the  plates  from 
the  hand  of  this  artist  that  are  here  grouped,  and  which  may  be  regarded  as 
quite  typical  of  him,  there  are  only  two  that  do  not  contain  a  book  as  a-  "2- 
tail  somewhere  in  the  finished  plate. 

One  of  the  exceptions  is  the  plate  of  the  Studio  Club  that  gains  infin- 
itely by  the  omission  of  a  book  in  the  plate  as  produced.  The  grouping  of 
the  five  observers  (symbolic  of  the  members  of  the  Studio  Club)  around 
the  feminine  portrait  is  most  charming,  and  to  the  writer  it  appears  one  of 
the  happiest  of  recent  productions  in  appropriate  book-plates. 

Mr.  Fisher's  feminine  figures  that  he  introduces  into  many  of  his 
plates  are  likewise  exceedingly  effective.  This  is  particularly  the  case  when 
to  the  charms  of  femininity  he  has  added  those  of  symbolism,  as  in  the  case 
of  the  plate  for  Miss  Winifred  Knight,  in  which  the  graceful  female  masker 
appears  at  the  shrine  of  the  idealized  god  Pan,  who  writes,  it  may  be  some- 
thing oracular,  in  her  proffered  album.  The  figure  is  gracefully  posed  and 
the  lines  of  the  arms  and  neck  are  marked  by  pleasant  curves. 

In  the  plate  of  Male  Bruce  Douglas,  Mr.  Fisher  may  have  been  influ- 
enced by  Hans  Christian  Andersen,     At  any  rate,  whether  or  not  this  is  so, 


Cjc  X-ibtis 


3ohn(irhaTlfs6agt 


mmmm 


he  has  neatly  and  most  effectively  grouped  the  old-time  jester  with  his  cap 
and  bells,  the  pointed  shoes  from  whence  came  our  modern  samples,  and  the 
maiden  with  the  quaintness  of  head-dress  and  drapery,  that  at  least  suggests 
the  fairy  and  the  incidental  sacred  stork,  making  this  plate  with  its  shelf  of 
books  and  the  panel  of  repeated  heraldic  shields  very  attractive  even  to 
the  chance  observer. 

In  the  plates  for  the  Misses  Mary  N.  Lewis,  Elizabeth  Langdon,  Leila 
H.  Cole  and  Elizabeth  Allen  there  are  several  diverse  methods  shown  in 
which  convention  has  been  pleasingly  utilized.  The  vine  and  tree  forms  that 
are  motifs  are  very  effective,  and  in  all  of  these  we  see  suggestions  of  treat- 
ment similar  to  that  which  stands  out  perhaps  a  little  more  pronouncedly 
in  the  plate  of  Miss  Douglas.  Costume  quaintness,  charm  of  pose,  graceful 
outline,  the  tendency  toward  lecturn  detail  and  delicacy  of  touch,  are  in  each 
instance  here  seen  to  be  characteristic  of  the  artist. 

The  plate  of  John  Charles  Gage  has  in  it  the  atmosphere  of  the  mon- 
astery. Two  friars  are  busy  with  a  folio  manuscript  that  has  been  beauti- 
fully illuminated.  The  one  reads  the  lessons  for  the  day  from  the  book  of 
hours.  The  other  has  a  pleasing  bit  of  gossip  that  he  is  telling  to  his 
brother  friar  as  he  reads,  and  the  reader  hears  with  eagerness  with  his  ears 
while  he  reads  without  absorption  with  his  eyes. 

Into  the  plate  of  Samuel  H.  Hudson  the  atmosphere  of  the  monastery 
is  also  introduced.  The  cordelier  sits  absorbedly  reading  his  matins. 
Through  the  open  window  of  the  monkish  cell  is  seen  the  morning  medieval 
landscape  whose  charms  exercise  no  influence  upon  the  solitary  recluse,  soli- 
tary save  for  the  monkey  who  plays  sad  havoc  with  the  vellum  volume  that 


m^msmfim 


Wm.  Edgar  Fisher 


lies  upon  the  cell  floor  and  the  destruction 
of  which  the  Franciscan  is  too  absorbed  to 
notice.  The  monkey  as  a  foil  for  the  as- 
cetic in  this  plate  shows  that  Mr.  Fisher  has 
a  strong  appreciation  of  the  most  delicate 
humor,  which  here  crops  out  most  delight- 
fully. The  border  makes  the  plate  a  trifle 
heavy,  but  this  can  easily  be  excused  because 
of  the  charm  of  the  plate  otherwise. 

The  dog  is  given  a  prominent  place  in 
the  plate  of  Miss  Lula  Thomas  Wear.  He 
dominates  even  the  books,  and  it  may  be 
that  the  owner  prefers  her  dachshund  to  her 
library,  although  it  is  evident  that  her  books 
have  some  place  In  her  esteem. 

The  design  on  the  plate  of  Stanley 
Shepard  suggests  a  derivation  from  an  old 
print.  The  caravel  rides  upon  the  waves 
according  to  the  conception  of  the  old-time 
engravers.     The  anchor,  the  sword  fish  of 


By  Wm.  Edgar  Fishe 


the  deep  sea,  and    the 


By  Wm.  Edgar  Fisher 


sea-Stars  all  suggest  the  ocean  voyager  who  has 
deep  down  in  his  heart  a  love  of  books. 

In  contrast  with  the  plate  of  Mr. 
Shepard's  appears  that  bearing  the  name 
of  Silvanus  Macy,  Jr.  The  love  of  hunt- 
ing stands  out  right  boldly  here,  and  in  the 
fox  hunt  does  Mr.  Macy  undoubtedly 
revel.  He  could  not  have  such  a  book- 
plate otherwise,  and  live  with  it  every  day, 
let  it  be  in  all  his  books  and  have  it  stand 
for  him  as  it  does,  unless  it  was  fairly  rep- 
resentative of  the  man's  personality.  That 
Is  what  makes  a  book-plate  so  eminently 
interesting,  aside  from  the  art  work  put 
upon  it.  Books  appeal  to  all  sorts  and 
conditions  of  men,  as  the  work  of  Mr. 
Fisher's  here  grouped  clearly  Indicates. 

The  plate  from  the  books  of  Miss 
Edna  B.  Stockhouse  Is  a  trifle  shadowy  in 
motif  notwithstanding  which  there  can  be 
no  doubt  the  owner  loves  books.  The 
face  In  the  book-plate  reads.  There  is 
also  a  love  of  the  beautiful  in  ceramics  In- 
dicated as  an  incident  in  the  plate.  No 
wonder  the  head  wears  an  aureole. 


The  "  Bi  Lauda  "  plate  is  that  of  a  secret  society  at  Wellsville,  N.  Y., 
and  we,  therefore,  forgive  if  we  cannot  forget  its  poverty  of  bookish  design. 

In  the  personal  plate  of  the  designer,  of  all  those  here  reproduced,  we 
catch  glimpses  of  the  artist's  own  personality.  We  see  him  as  a  book-lover 
and  something  of  his  inspiration  is  spread  out  before  us.     He  goes  reading 


along,  carrying  reserve 
that  engages  his  atten- 
is  happily  finished, 
producing  book-plates 
which  time  he  has  to 
examples  of  work  in 
haps  happiest  in  his 
pictorial,  and  he  has 
plates  most  charmingly. 
Cornell  at  Phillips 
Mass.  At  Cornell  he 
two  years,  with  especial 
He  also  studied,  for 
Institute,  Chicago, 
from  Cornell.  He  has 
in  the  matter  of  design- 
cates  that  his  teacher 
has  privately  but  care- 
of    the     best     modern 


volumes  in  case  the  one 
tion  in  the  portraiture 
Mr.  Fisher  has  been 
only  since  1898,  since 
his  credit  some  forty 
this  field.  He  is  per- 
rendition  of  the  plate 
sometimes  tinted  his 
Mr.  Fisher  prepared  for 
Academy,  Andover, 
studied  architecture  for 
attention  to  drawing, 
six  months,  at  the  Art 
111.,  whither  he  went 
been  largely  self-taught 
ing,  but  his  work  indi- 
was  a  good  one.  He 
fully  studied  the  work 
pen-and-ink  draughts- 
men, and  from  this  he  has  formed  his  personal  style.  The  methods  and 
craftsmanship  of  reproduction  were  the  subject  of  special  study  on  his  part 
while  he  was  with  one  of  the  large  Chicago  engraving  houses.  Anything 
that  comes  from  his  hand  will  be  sure  of  the  most  kindly  reception,  so  long 
as  his  work  is  maintained  at  the  present  high  standard. 


By  Wm.  Edgar  Fisher 


By  Wm.  Edgar  Fisher 


NINETEEN  EXAMPLES  OF  DEC- 
ORATIVE BOOK-PLATES  BY 
MODERN   BRITISH   DESIGNERS 

From  THE  LONDON  "STUDIO" 


'CX»LIG(2I5( 

CnAGLES 

MOLnE' 


By  J.  W.  Simpson 
9 


By  R.  Anning  Bell 


JWSIMPSON 
HIS  BOOK 

— / 

By  J.  W.  Simpson 


EX  LIBRIS 


ED^WARD 
MORTON 


Four  Designs  by 
Gordon  Craig 


1900 

M 

•S^ 

0  1       ^l 

•C 

1 

By  J.  WiUiams 


By  W.  B.  Pearson 


Hingoutthedark 


By  Enid  M.  Jackson 


By  Arthur  H.  Vetstage 


From  Drawing  after  Etching 
By  D.  Y.  Cameron 


LIBRi; 


EDITNA 
KING5^ 
rORD 


fIN 


By  Harold  Nelson 


THE  ARTISTIC  BOOK-PLATE 

By  TEMPLE  SCOTT 

BOOK-PLATE,  in  its  simplest  expression,  is  a 
printed  indication  of  the  ownership  of  a  book. 
It  may  take  the  form  of  the  unadorned  visiting 
card,  or  it  may  be  embellished  with  heraldic  and 
other  designs  explanatory  of  the  owner's  name, 
ancestry,  tastes,  or  predilections.  Primarily, 
however,  it  is  intended  to  fix  ownership.  How 
far  it  satisfactorily  serves  its  purpose,  is,  perhaps, 
of  little  moment  to  the  average  book-collector ; 
for  the  book-plate  has  emerged  from  the  stage 
of  practical  utility  and  become  a  thing  in  itself, 
so  to  speak.  It  has  taken  its  place  beside  the  many  articles  de  verlu  which 
are  godsends  to  the  weary  of  brain  and  heart,  inasmuch  as  they  become  the 
objects  of  a  passion  so  delightful  in  its  experience,  as  to  make  us  forget  the 
little  trials  and  worries  of  life  that  make  pessimists  of  us  in  this  "  bleak 
Aceldama  of  sorrow."  Nay,  they  may  even  become  the  one  sun,  shining 
and  irradiating  for  us  all  the  dark  places  of  our  wanderings,  and  cheer  us 
with  the  hopes  for  newer  and  finer  acquisitions  than  we  already  have. 

When,  however,  we  come  to  a  consideration  of  the  artistic  book-plate, 
we  enter  upon  a  new  field  of  enquiry  entirely.  It  indicates  that  a  simple 
usage  of  a  necessary  and  harmless  convention  has  developed  into  a  complex 
expression  —  an  expression  not  merely  of  the  individual  to  whom  the  book 
belongs,  but  also  of  the  artist  whose  business  it  is  to  give  pictorial  form  to 
the  desires  and  wishes  and  tastes  of  his  patron. 

From  the  crude,  if  sufficient,  paste-board  stuck  on  the  end-paper,  to 
the  heraldic  display,  was,  surely,  no  very  far  cry.  In  the  countries  of  the 
Old  World,  where  pride  of  ancestry  touches  the  worthy  and  unworthy  alike, 
it  was  to  be  expected  that  so  valuable  an  opportunity  for  flaunting  the  deeds 
of  "  derring  do"  of  one's  forefathers  as  a  sign  of  one's  own  distinction,  such 
as  the  book-plate  offers,  was  certainly  not  to  be  neglected.  So  we  find  that 
the  coats  of  arms  which  once  served  as  inspirations,  and  which  once  had  a 
genuine  meaning  to  their  owners  and  retainers,  now  do  service  in  the  more 
peaceful  realms  of  Bookland.  And,  assuredly,  there  are  certain  books  in 
a  library,  which  are  more  worthily  acknowledged  after  this  ancient  and  mar- 
tial fashion.  We  cannot  but  believe  that  a  Froissart  from  the  press  of 
Caxton  or  Wynkyn  de  Worde,  would  be  handled  with  more  reverence  if  one 
saw  on  the  verso  of  its  front  cover  a  glorious  display  of  the  arcana  of  her- 
aldry, in  all  its  magnificence  of  mysterious  meaning.  ^This  feeling  would 
also  be  aroused  in  turning  the  leaves  of,  say,  Philippe  le  Noir's  edition  of 
the  "Gesta  Romanorum  "  (1532),  or  of  Hayton's  "  Lytell  Cronycle  "  from 


the  shop  of  Richard  Pynson,  or  of  Mandeville's  "  Voyages  and  Travailles," 
issued  by  T.  Snodham  in  1625,  or  of  Pliny's  "  Historia  Naturalis  "  from 
the  Venetian  press  of  Nic.  Jenson  in  1472,  or  of  Rastell's  "  Pastyme  of 
People,"  "emprynted  in  Chepesyde  at  the  Sygne  of  the  Mermayd"  in  1529. 
To  these  and  their  like  a  book-plate  of  heraldic  story  comes  as  a  fitting  and 
graceful  complement. 

But  the  average  mortal  of  this  work-a-day  world  and  age  has  not  the 
means  wherewith  to  acquire  such  treasures  of  the  bibliophile.  Nor,  per- 
haps, has  he  the  necessary  pedigree  with  which  to  adorn  them,  if  acquired; 
though  on  this  latter  consideration,  we  suspect  that  the  Herald's  College  in 
the  purlieus  of  Doctors'  Commons,  and  the  more  amenable,  though  not  less 
expensive  Tiffany  on  this  side  of  the  Atlantic,  would,  no  doubt,  prove 
excellent  aids  to  a  full  satisfaction. 

But  we  are  not  here  dealing  with  the  pomp  and  glorious  circumstance 
of  Heraldry.  In  dealing  with  the  artistic  book-plate,  we  are  considering  a 
matter  which  concerns  itself  not  with  past  stories  or  past  individuals,  but 
with  the  present  tale  and  the  particular  living  personage  who  has  the  laudable 
and  humble  ambition  to  distinguish  his  copy  of  a  book  from  his  friend's  copy 
of  the  same  book.  A  taste  in  books  may  be  easily  whitewashed,  but  a 
taste  in  a  book-plate  flares  its  owner's  heart  right  into  the  eyes  of  the 
demurest  damsel  or  the  simplest  swain.  It  may  be  that  our  collection  is 
but  a  series  of  Tauchnitz  editions  carefully  garnered  on  a  European  tour,  or 
a  handful  or  two  of  Bohn's  Library,  accumulated  from  our  more  studious 
days,  or  a  treatise  on  golf,  chess,  gardening  and  photography,  or  a  history  of 
the  state  or  town  in  which  we  live  —  it  matters  little  what  —  these  are  the 
treasures  we  most  prize,  and  we  wish  to  hold  them.  Now,  how  best  shall 
the  collector  mark  them  as  his  own  ? 

He  writes  his  name  on  the  title-page.  Ugh!  What  a  vandal's  act ! 
The  man  who  could  so  disfigure  a  book  deserves  to  have  It  taken  from  him, 
and  his  name  obliterated.  He  who  could  find  it  In  his  heart  to  write  on 
title-pages  could  surely  commit  a  murder.  We'd  much  rather  he  turned  a 
leaf  down  to  mark  the  place  where  he  had  left  off  in  his  reading;  though  to 
do  that  is  bad  enough,  in  all  conscience.  Nor  does  he  save  his  soul  by 
writing  on  the  fly-title,  or  even  end-paper.  Moreover,  this  will  not  save 
his  book  either.  A  visiting  card  can  easily  be  taken  out — it  looks  too 
formal,  nondescript,  meaningless,  common,  to  inspire  any  respect  In  a  would- 
be  thief      But  an  artistic  book-plate  !     Ah  1  that's  another  thing  altogether. 

An  artistic  book-plate  is  the  expression  In  decorative  illustration  of  the 
proprietor's  tastes,  made  by  an  artist  who  has  sympathetically  realized  the 
feeling  Intended.  It  should  objectify  one,  and  only  one,  salient  characteristic, 
either  of  temperament,  habit,  disposition,  or  pleasure,  of  Its  owner.  If  it 
does  less,  it  Is  not  individual ;  If  it  does  more,  it  is  not  satisfying. 

Now  each  one  of  us  has  some  characteristic  trait  that  Is  not  common  to 
us  all  —  then  let  that  be  the  aim  of  the  artist  to  embody  in  decorative  form. 
And  let  that  embodiment  be  simple  and  direct —  the  simpler  and  more  direct 


it  is,  the  more  will  it  appear;  and  the  more  beautiful  it  is  the  more  will  it 
soften  the  kleptomaniacal  tendencies  of  the  ghoulish  book-hunter.  For  nothing 
touches  him  so  nearly  to  the  finer  impulses  of  nature  than  the  contemplation 
of  beauty  ;  and  he  would  be  less  than  human  did  he  fail  to  respond.  We 
would  even  go  to  the  length  of  giving  as  an  admirable  test  of  the  book-plate 
artist's  powers,  the  lending  of  a  book  (whose  loss  would  give  no  qualms) 
containing  the  plate.  If  it  come  not  back,  there's  something  the  matter 
with  your  plate ;  or,  you  can  libel  your  friend  as  a  beast  of  low  degree, 
which  suggests  a  good  way  of  finding  out  your  friend's  true  character.  But 
then,  there's  no  limit  to  the  powers  of  a  beautiful  book-plate. 

Now  there  are  a  great  many  coy  people  who  don't  care  to  wear  their 
hearts  on  their  sleeves;  these  would  naturally  feel  indisposed  to  post  them- 
selves thus  before  the  public  eye,  be  the  book-plate  never  so  beautiful. 
To  these  we  would  say:  Give  us  what  you  prize  best — your  home,  your 
wife,  your  sweetheart,  your  motto  (though  that's  giving  yourself  away  too), 
your  baby,  anything  that  is  truly  yours.  (Babies  are  quite  a  propos,  and 
should  be  characteristic,  though  it  does  not  always  follow.  Some  babies 
have  a  habit  of  taking  after  quite  other  people.)  The  idea  is,  to  embody 
something  individual,  something  special  and  particular. 

If  he  can  afford  a  large  library,  or  is  a  collector  of  the  works  of  one  or 
two  authors,  there's  a  way  out  of  the  difficulty  for  the  coy  person,  by  having 
the  book-plate  represent  the  characteristic  of  the  author  and  have  his  name 
as  an  addition.  That  may  be  taking  a  liberty  —  but  authors  are  accustomed 
to  that;  and,  besides,  you  are  appreciating  them,  and  that  should  exorcise 
the  spirit  of  an  indignant  "  classic "  from  the  four  walls  of  your  library. 
Have  the  original  of  the  design  framed  on  the  wall ;  it  may  save  you  a  lot 
of  explanation  should  the  spook  even  get  "  mad."  You  can  always  lay  the 
blame  on  the  artist.  Of  course,  this  means  a  book-plate  for  each  author ; 
but  as  book-plates  are  not,  after  all,  such  very  expensive  luxuries,  this  con- 
sideration need  be  a  matter  of  but  small  moment. 

Yet  another  idea  is  to  have  an  artistic  treatment  of  a  representation  of 
your  library,  your  "  den."  That  sounds  very  inviting  and  certainly  can 
hurt  no  one's  feelings.  If  you  don't  happen  to  possess  a  special  apartment, 
give  an  apartment  such  as  you  would  like  to  possess.  Or  show  your 
favorite  chair,  or  nook,  or  greenwood  tree,  or  running  brook,  or  garden 
plot.  There  are  thousands  of  ways  in  which  to  fashion  a  book-plate,  and  an 
artistic  book-plate,  too.  We  thus  can  see  what  an  advance  the  modern 
artistic  book-plate  is  on  the  old  style  article  —  so  formal,  so  characterless,  so 
inchoate  and  so  amorphous. 

Indeed  the  artistic  book-plate  is  a  genuine  inspiration,  or  it  may  be 
made  so.  How  charming,  or  delight-giving,  or  valuable,  or  intoxicating  it 
is,  depends  largely  on  the  artist.  But  it  also  depends  on  the  individual  who 
':'°«ires  it.  It  should  be  planned  with  care  and  executed  with  feeling.  It 
should  be  like  no  other  book-plate  in  the  sense  that  it  possesses  some,  flavor 
th:it  is  private  and  personal.     It  should  be   as   much  an  indication  of  the 


owner's  taste  as  is  his  library  —  and  no  man  can  hide  his  nature  from  the 
friend  who  has  had  access  to  that.  There  are  many  things  a  book-plate 
should  not  be  —  but  these  may  be  summed  up  in  the  advice  —  it  should  not 
be  a  mask.  You  may  order  your  books  by  the  hundredweight  from  your 
bookseller,  but  that  won't  stand  you  in  any  stead  when  your  friend  handles 
them  and  turns  to  you  for  a  criticism,  or  an  opinion.  You  may  also  com- 
mission your  artist  for  a  book-plate ;  but  you  are  in  a  worse  plight  if  you 
fail  in  the  more  direct  explanation  you  will  be  required  to  make  to  the 
insistent  inquiries  as  to  its  meaning  or  appositeness.  No  !  Be  it  ever  so 
humble,  let  it  be  yours.  It  may  be  a  poor  thing,  but  it  is  your  own ;  but 
it  may  be  also  a  very  rich  thing,  and  your  own  also. 


By  J.  W.  Simpson 


THIRTY-TWO  EXAMPLES  OF 
BOOK-PLATES  from  PRIVATE 
COLLECTIONS   and   Other  Sources 


^^fff| 


From  Steel  Engraving 
By  E.  D.  French 


'A«(hpi>€>CIttb 


irapj^ 


By  Geo.  Wharton  Edwards 


By  T.  B.  Hapgood.Jr. 


Bv  Charles  Selkirk 


TBH.pgo.ajr  Mdctacyti 

By  T.  B.  Hapgood,  Jr 


DAVID:>::^HJR»IRE 


By  Louis  H.  Rhead 


By  B.  G.  Goodhue 


By  W.  S.  Hadaway 


By  H.  E.  Goodhu 


From  Steel  Engraving 
By  E.  D.  French 


By  H.  E.  Goodhu 


By  B.  G.  Goodhue 


By  Fernand  KhnopfF 


By  Hans  Tho 


By  Bernard  Wenig 


By  Julius  Diei 


By  Charles  E.  Eldred,  of  English  Navy 


"lEir^ard  Buifi'f  <^(nnipv. 


From  Steel  Engravings  by  Wm.  I'liilliiis  1 
30 


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Sleel  Engravings  by  Wm.  Phillips  Barrett 
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Four  designs  by  Thomas  M.  Cleland 


BOOK-PLATES  AND  THE  NUDE 


By  WILBUR  MACEY  STONE 


C 


OVERS  of  the  beautiful  have  been 
burdened  with  endless  talk  and 
writing  and  many  quarrels  on  the 
nude  in  art,  and  now  I  have  the  temerity 
to  open  a  new  field  of  battle  and  throw 
down  the  gauntlet  for  strife.  The  Eter- 
nal Feminine  is  a  prominent  factor  in  the 
picture  book-plates  of  the  day,  and  she 
is  showing  some  tendencies  to  appear 
minus  her  apparel.  Question:  is  it  wise 
and  in  good  taste  ? 

Of  course,  to  start  with,  I  am  quite 
free  to  admit  that  good  taste  is  a  movable 
feast  and  is  much  influenced  by  the  point 
of  view.  Your  taste  is  good  if  it  agrees 
with  inine ;  otherwise  it  is  bad  taste  or  no 
taste.  At  any  rate,  there  are  a  few  things 
we  can  agree  upon,  I  think.  For  instance, 
that  there  is  a  wide  distinction  between 
the  nude  and  the  naked.  Also,  that  the 
human  form  divine  is  most  beautiful,  but 
that  to  remain  most  beautiful  it  must 
deviate  not  one  jot  or  tittle  from  the 
divine,  for  any  deviation  is  to  tend  to  the  earthy  and  gross,  which  is  vulgar 
and — bad  taste.  We  can  also  agree,  1  think,  that  partially  draped  figures 
can  be,  and  often  are,  sensual  and  repulsive  beyond  the  frankly  nude,  and 
this  without  the  direct  intent  or  knowledge  of  the  artist. 

"  A  hair  perhaps  divides  the  false  and  true, 
Yes;  and  a  single  slip  were  the  clue  —  " 

But  above  all  things  a  nude  figure  should  never  carry  the  idea  of  a  con- 
sciousness of  its  nudity  !  Also,  clothing  or  drapery  used  simply  to  hide 
portions  of  the  figure  is  execrable  and  more  suggestive  than  any  entire 
absence  6f  clothing;  while  to  add,  as  I  have  seen  done,  a  hat  and  French- 
heeled  shoes  to  a  nude  figure  is  abominable  beyond  condemnation. 

But  all  this  is  of  broad  application  and  is  sawing  upon  the  same  old  and 
frayed  strings.  Abstractly,  a  beautiful  nude  is  as  beautiful  on  a  book-plate 
as  in  a  portfolio  or  in  a  frame,  and  some  of  the  most  beautiful  book-plates  I 
have  ever  seen  have  been  nudes.  Nevertheless,  to  me  the  nude  seems  out 
ofplaceandin  questionable  taste  on  a  book-plate;  the  simple  matter  of 
repetition  is  enough  to  condemn  it. 


Book- Plate  of  Mr.  Carl  Schu 


The  partially  draped  figures  by 
R.  Anning  Bell  are  chaste  and  beau- 
tiful, and  one  never  thinks  of  them 
other  than  as  clothed ;  so  they  can 
hardly  be  considered  in  this  discus- 
sion. Many  of  the  book-plates  by 
Henry  Ospovat  contain  partly  draped 
figures  which  are  always  beautifully 
drawn,  pure  and  a  constant  delight. 
But  really,  I  think  it  would  jar  me  to 
meet  even  an  angel — the  same  one, 
mind  you — in  each  of  a  thousand 
volumes.  Emil  Orlak,  in  Austria, 
has  made  some  fairly  pleasing  nudes, 
but  they  lack  that  purity  of  concep- 
tion without  which  they  are  common. 
Armand  Rassenfosse,  of  Belgium, 
has  etched  a  number  of  dainty,  fault- 
lessly drawn  and  really  most  beautiful 
nudes,  but  many  of  them  have  been 
ruined  by  the  needless  addition  of 
shoes  and  fancy  head-dresses.  Pal 
de  Mont,  of  Antwerp,  has  a  plate  by 
Edmond  van  Oppel  which  he  prob- 
ably thinks  a  work  of  art,  but  which 
is  surely  the  height  of  vulgarity; 
while  in  "Composite  Book-Plates" 
is  a  design  by  Theodore  Simson 
containing  a  large  figure  of  a  nude 
woman  with  her  hair  done  in  a  pug, 
seated  in  a  grove  amid  dandelions 
and  poppies,  and  diligently  reading  a  book.  The  figure  is  treated  in  broad 
outline,  which  is  ill  adapted  to  the  subject,  and  it  lacks  that  refinement  with- 
out which  nothing  is  beautiful.  She  is  absolutely  at  variance  with  her 
environment,  and  the  whole  is  a  tour  de  force  quite  unforgivable. 

Miss  Labouchere,  in  her  volume  on  ladies'  plates,  shows  a  rather 
amusing  pair  of  designs  for  Miss  Nellie  Heaton.  These  plates  both  bear 
the  legend,  "  Gather  ye  roses  while  ye  may."  In  the  first,  the  designer,  Mrs. 
Baker,  has  a  fair  creature  in  all  the  glory  of  entire  nudity  plucking  blossoms 
from  a  rose-vine.  In  the  other,  she  used  the  same  design  throughout,  but 
has  fully  clothed  the  figure.      Evidently  Miss  Heaton  protested. 

These  designs  by  a  woman  call  to  mind  the  fact  that  among  the 
book-plates  of  over  one  hundred  and  fifty  women  designers  with  which  I 
am  familiar,  I  know  of  but  one  other  nude.  This  other  is  by  Miss  Mary 
Florence,  and  is  of  a  large  full-length  angel  entirely  undraped. 


By  H.  Nels( 


By  H.  Ospovat 


Fritz  Erler,  a  German  designer 
of  much  strength,  has  made  a  number 
of  symbolic  book-plates.  All,  I  be- 
lieve, have  the  feminine  as  motif,  and 
in  several  the  figures  are  nude.  The 
design  for  Emil  Gerhaeuser  is  inoffen- 
sive and  well-drawn,  but  surely  is  not 
beautiful,  and  lacks  a  good  excuse  for 
existence.  In  a  generally  pleasing  dec- 
orative arrangement  for  Robert  H. 
Smith,  Harold  Nelson,  an  English 
designer,  shows  a  rather  attenuated 
nude  maiden  looking  with  envy  at  a 
gorgeous  peacock  on  the  opposite 
side  of  the  design  ;  while  the  peacock 
in  turn  seems  to  say,  "Why  don't  you 
grow  some  feathers  ?  " 

We  naturally  expect  to  find  well- 
drawn,  if  not  always  pleasing,  nudes 
in  the  French  school.  Henry  Andre, 
one  of  the  best  known  French  design- 
ers of  book-plates,  uses  the  nude  quite 
freely  in  his  work  ;  in  some  instances  pleasingly,  but  in  one  or  two  with 
marked  vulgarity.  Octave  Uzanne  has 
the  most  pleasing  nude  plate  that  I  have 
ever  seen.  It  is  designed  .by  Guerin, 
and  represents  a  tortoise  bearing  the  im- 
plements of  the  artist,  and  coaxed  along  by 
the  hot  torch  of  knowledge  in  the  hand 
of  a  light-winged  cupid.  By  Sherborn, 
the  great,  I  have  seen  but  one  nude  in  a 
book-plate,  and  that  a  poor  thing  but 
innocuous,  for  Mr.  Harris  Fahnestock 
of  New  York.  Mr.  E.  D.  French  has 
made  but  one  nude  that  I  have  seen, 
that  for  Mr.  E.  H.  Bierstadt;  the  design 
shows  a  nude  shepherd  boy  piping 
to  his  flock.  The  plate  Mr.  French 
engraved  for  Mr.  De  Vinne,  from  the 
design  by  Geo.  Fletcher  Babb,  has  nude 
termini  for  bearers,  and  is  elegant  and 
beautiful,  an  ideal  plate. 

American  artists  have  essayed  the 
nude  but  little  in  book-plate  design,  per- 
haps through  wisdom,  perhaps  through 


From  Drawing  after  Etching 
by  A.  Rassenfosse 


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fear  ;  but  the  fact  remains  that  they  have  thereby  avoided  the  perpetration 
of  at  least  some  crimes.  Judging  by  the  examples  we  have  been  able  to  cite, 
and  they  are  representative,  it  would  seem  that  the  best  advice  we  can  give' 
those  tempted  to  use  the  undraped  beautiful  in  their  book-plates  is— don't. 


Mm[  fAVJis 


THE   ARCHITECT   AS   A   BOOK- 
PLATE    DESIGNER:      Bv  WILLIS  STEELL 


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MONG  the  book-plate  designers 
of  the  present  day  the  architect 
may,  if  he  choose,  take  a  high 
place.  He  is  one  whose  studies  have 
led  him  through  the  paths  of  artistic 
training  where  his  eye  and  hand  have 
learned  to  see  color  and  form  and  bal- 
ance of  parts,  and  while  the  usual  media 
of  his  profession  are  wood,  stone,  terra 
cotta  and  iron,  there  are  many  by-paths 
through  which  he  must  travel  to  appre- 
ciate the  value  of  his  pencil  lines  upon 
the  flat. 

No  more  delightful    by-way   than 
the  book-plate  route  will  open   before 
him,  hedged  in  as  it  is  by  purely  artistic 
shrubbery    and    leading    constantly    to 
By  Thomas  fryon  pretty   and    cvcn    beautiful    designs    in 

which    the    genius    of   architecture    has 

played  a  great  part.      Moreover,  all  his  preceding  journey  through  the  hard 

conventional     country    to    which    architecture    at    first    seems    limited,    has 

equipped  him  thoroughly  to  give  expression  to  his  fancy.      That  the  gift  of 

imagination  is  among  his  endowments  should  be  taken  for  granted,  however, 

if  the  architect  is  to  succeed  in  the  line        , ,  , 

of  drawing  book-plates. 

Fancy  and  imagination  being  in  his 

mental     equipment     the     architect     can 

"  rest  "  his  mind  in  no  more  delightful 

fashion  than  by  giving  them  full  scope  in 

this  gem-like  art.      His  experience,  his 

collections    of    drawings,    the    work    of 

others  of  his  craft  which  he  has  studied, 

all  tend  to  render  his  fund  of  information 

large,  and    if   he  has  the  key  to  book- 
plate   art,    inexhaustible,    since     nothing 

comes   amiss   to   the  pen   of  one  whose 

facile  fancy  can  grasp  a  good  motive  and 

direct   it   to   a  purpose  other   than   that 

originally  intended. 

In  the  early  days  of  art  the  architect 
39 


JAMIiS  SFA'MOUR  TRYON 
By  Thomas  Tryoii 


was  not  only  a  designer  of  buildings  but  was  also  a  sculptor  and  sometimes 
a  decorative  painter.  He  was  called  upon  by  his  patrons  to  design  whatever 
was  needed  at  the  moment,  and  these  men  were  "  all-round  "  artists,  the  day 
of  specialization  and  the  speculator  not  having  dawned. 

Buonarotti  is  an  awesome  name  to  call  up,  but  this  great  painter, 
sculptor,  architect  and  builder  touched  nothing  that  he  did  not  adorn,  and  in 
many  of  the  hundreds  of  crayon  sketches  and  cartoons  that  he  left  behind 
him,  the  feeling  of  the  book-plate  artist  is  clear.  Had  Lorenzo  the  Mag- 
nificent wanted  a  book-plate  for  use  in  his  library,  the  great  Michael  Angelo 
could  have  filled  the  want  from  his  own  notes,  with  very  little  of  either  sup- 
pression or  expansion.      It  may  seem  strange  to  think  of  this  Titan  of  art, 

the  creator  of  the  sweeping  "  Last 
Judgment "  turning  his  pencil  to  the 
delicate  lines,  the  imperceptible  nuan- 
ces demanded  by  a  book-plate,  yet  it 
may  be  repeated,  in  his  work  may  be 
found  a  myriad  of  suggestions  for 
these  gem-like  products. 

Buonarotti  was  not,  however, 
first  and  last  an  architect.  Painter 
and  sculptor  also,  these  sides  of  his 
artist  soul  would  have  been  drawn  on 
for  the  book-plate.  Therefore  the 
statement  that  not  every  architect  can 
design  so  fanciful  and  dainty  a  work 
as  a  book-plate  becomes  a  truism 
patent  to  everybody.  The  architect's 
profession  calls  for  a  two-fold  nature, 
the  one  side  tending  toward  that  of 
the  engineer  with  its  eminently  prac- 
tical and  very  necessary  tables  of 
stress  and  strain,  its  mathematical 
calculations  for  loads  and  disposition 
of  carrying  walls,  while  the  other  side 
leans  to  a  nice  discernment  of  color  and  proportion.  The  laying  out  of 
vistas  and  the  arrangement  of  surfaces  and  lines,  so  that  the  eye  is  aided  in 
receiving  the  best  impression  from  all  points  of  view.  Of  this  turn  of  mind 
is  the  one  who  can  and  does  design  book-plates.  The  very  practical  archi- 
tect, if  he  wishes  the  glory,  which  is  doubtful,  has  one  of  his  draftsmen  make 
the  design  and  then  signs  the  drawing  and  gets  the  glory.  It  would  be 
amusing  if  such  an  one  through  some  luck  charm  received  constant  application 
for  such  work.  His  draftsmen  would  change  and  his  drawings  be  as  dissimi- 
lar as  the  men  who  drew  them.  Possibly  the  signature  would  lead  the 
long-suffering  public  to  think  him  very  versatile. 

It  is  not  of  this  class  of  architect  that  we  write.      It  is  of  him  who  is  half 


By  Thomas  Tryo 


painter  or  sculptor,  and  who  loves  his  pen  and  pencil  and  delights  in  the 
personal  expression  of  his  ideals.  He  finds  that  his  way  of  seeing  things  is 
more  to  his  liking  than  any  way  of  any  other  man.  He  sees  the  infinite 
beauty  of  nature  and  loves  her  shitting  pictures  in  the  clouds.  Then  too,  he 
must  have  the  ability  to  clearly  comprehend  the  half-formed  ideas  of  him 
whose  plate  he  undertakes  to  draw.  This  is  not  always  an  easy  matter. 
There  are  but  few  in  the  world  who  can  formulate  their  ideas,  much  less 
invent  a  picture  without  first  seeing  it.  Here  the  architect  has,  perhaps,  an 
advantage  over  the  purely  imaginative  artist,  since  the  average  man  does  not 
know  the  difference  between  the  Classic  period  and  the  Gothic,  the  Napoleon 
era  and  the  modern  German  renaissance. 

Of  the  architects  who  have  obtained  unquestioned  recognition  in  this 
exquisite  art,  Thomas  Tryon  is  among  those  whose  work  is  especially 
prized.  His  adaptation  of  architectural  forms  to  the  confined  space  of  the 
book-plate  shows  the  work  of  a  man  who  has  command  of  his  tools  and 
knowledge,  and  despite  the  narrow  confines  of  the  field  his  work  is  not  at  all 
"  cabined  or  cribbed."  The  illustrations  accompanying  this  essay  are  taken 
rather  at  random  from  among  Mr.  Tryon's  designs,  but  they  will  convey  to 
those  unfamiliar  with  his  work,  a  fair  idea  of  its  scope  and  treatment.  His 
first  design  was  a  plate  for  his  father,  an  ornate  armorial  design,  the  name 
being  set  up  in  type  at  the  base.  The  plate  for  Miss  Annah  M.  Fellowes 
is  quite  elaborate.  A  long-haired  and  bewhiskered  knight  stands  before  us  in 
a  suit  of  rich  armor,  his  right  hand  bearing  his  sword  and  helmet,  and  his  left 
resting  upon  his  shield.  His  helmet  is  surmounted  by  a  pair  of  spreading 
wings.  The  design  is  backed  by  a  rambling  rose  bush  on  which  is  hung  the 
motto  ribbon. 

Mr.  Frank  Pool  is  obviously  a  lover  of  the  drama.  In  an  oval  window 
set  in   masonry,  is  a   Roman  gentleman,    laurel    crowned,    reading    from    a 


By  Thomas  Tryc 


large  volume,  while  at  the  upper  right  and  left 
L^   y^^^yjff^j^   _^j  sides  are  comedy  and  tragedy  masks  from  which 

^^^-^/l^^"''^^^'^^^^  hang  a  gracefully   festooned    wreath.       Palms, 

ribbon  and  name  plate  finish  the  design.  For 
Mr.  Farragut,  the  son  of  our  old  admiral,  Mr. 
Tryon  has  made  a  very  "  salt  water  "  arrange- 
ment of  arms.  The  shield  is  surmounted  by  a 
quaint  ship  and  the  bearers  are  dolphins,  which 
on  one  side  encircle  a  trident  and  on  the  other 
a  sword.  The  conventional  acanthus  leaves 
ive  body  and  decoration  to  the  whole.  Per- 
haps one  of  the  most  distinctively  beautiful  of 
Mr.  Tryon's  designs  is  the  fleur-de-lis  for  Mr. 
liy  Thomas  Tryon  Marcus.       In  this  thc  artist  has  blended  most 

delightfully  the  natural  and  the  heraldic  flower 
and  has  produced  a  gem  of  which  one  never  tires.  For  his  sister  and  her 
children  Mr.  Tryon  has  made  a  light  and  airy  design,  distinctively  feminine 
and  graceful.  The  main  feature  of  the  design  is  an  ornate  cypher  of  the 
letters  S  T.  On  the  ribbon  below  the  name  is  shown.  This  is  changed  to 
the  names  of  Mrs.  Stone's  three  daughters  for  their  individual  use.  The 
plate  reproduced  here  is  that  of  one  of  Mrs.  Stone's  daughters.  The  design 
for  "  The  Boys  Club  "  is  surmounted  by  the  American  eagle  perched  upon 
the  globe,  and  the  flag  of  our  country  is 
draped  over  the  tablet  bearing  the  let- 
tering. This  plate  has  been  reproduced 
both  by  photo-process  and  copper  plate. 
Of  the  three  color  plates  repro- 
duced the  first  was  made  for  Mr.  A.  W. 
Brunner,  and  has  for  "  piece  de  resist- 
ence  "  a  very  ingenious  monogram  set 
in  an  oval  frame.  For  bearers  there  are 
two  graceful  palms  and  the  keystone  is 
surmounted  by  a  pile  of  books  and  a 
classic  student's  lamp.  The  base  of  the 
design  is  relieved  by  a  pleasing  arrange- 
ment of  acanthus  leaves.  The  plate  for 
Miss  Cox  is  a  seal-like  design,  dignified 
yet  dainty,  and  would  be  entirely  in 
place  in  all  kinds  of  volumes.  The 
plate  for  Mr.  Steell  quite  speaks  for 
itself  and  makes  the  sportsman  feel 
wildly  for  the  trigger  of  his  gun.  The 
buck  and  doe  silhouetted  against  the 
yellow  of  evening  and  the  reflection  in 
the  stream  are  a  delight. 


^^^^ 


l)y  Tliomas  Try 


Three  of  Mr.  Tryon's  designs  have  been  engraved  by  Mr.  E.  D. 
French.  The  famous  Sovereign  plates  being  two,  and  one  for  Mr. 
Havemeyer  being  the  third.  This  plate  for  Mr.  Havemeyer  is  indicative  of 
the  owner's  collection  of  Washingtoniana,  and  is  surrounded  by  several  of  the 
well-known  portraits  of  the  father  of  his  country,  while  at  the  top  is  a  small 
view  of  Mount  Vernon.  The  portaits  and  view  are  interwoven  with  foliage 
and  ribbon  and  form  a  frame  in  which  Mr.  Havemeyer's  arms  are  displayed. 
The  "Sovereign"  plates,  which  were  made  in  1895  ^°''  ^^^  library  of  Mr. 
M.  C.  D.  Borden's  yacht,  are  of  great  richness,  the  first  or  "  crown  "  design 
being  especially  so.  This  one  did  not  please  the  owner,  who  had  a  second 
•one  made  surmounted  by  an  eagle  instead  of  a  crown.  This  is  simpler  in 
treatment  and  not  so  decorative  as  the  earlier  design.  These  plates  were 
both  cut  on  the  copper  by  Mr.  French  who  treated  them  in  a  very  sympa- 
thetic manner  and  brought  out  in  clear  relief  the  ideas  of  the  designer. 

Mr.  Tryon's  production  has  not  been  great,  reckoned  by  the  number  of 
plates  made,  but  as  his  work  is  never  done  hurriedly  or  slightingly  it  carries 
an  air  of  finished  dignity  and  worth  that  gives  it  lasting  qualities.  As  he 
usually  has  one  or  two  plates  in  hand  to  which  he  adds  a  tew  lines  and  a  few 
thoughts  from  time  to  time,  we  may  still  expect  pleasant  surprises  in  this 
miniature  art  from  his  workshop. 


jr    ^ 


j^^ 


A  CHECK-LIST  of  the  WORK  of 
TWENTY-THREE  BOOK-PLATE 
DESIGNERS     of     PROMINENCE 

Compiled   by   WILBUR   MACEY  STONE 


r  WAS  thought  that  interest  and  value  would  be 
added  to  this  book  by  the  inclusion  of  lists  of  the 
book-plates  made  by  the  more  prominent  artists  whose 
work  is  reproduced  here.  These  lists  are  the  nearest 
complete  of  any  that  have  ever  been  published,  and  as 
they  have  been  verified  in  many  instances  by  the 
artists  themselves,  and  in  others  carefully  collated 
from  the  actual  book-plates,  they  may  be  relied  upon 
as  highly  accurate.  The  sundry  notes,  bibliographical 
and  otherwise,  by  which  the  individual  lists  are 
prefaced,  are  in  no  way  exhaustive,  but  just  a  cursory  gathering  to  relieve 
the  bareness  of  the  lists  and  to  give  some  little  additional  assistance  to  the 
amateur.  The  lists  are  arranged  alphabetically  under  the  artists'  names  as 
follows : 


William  Phillips  Barrett 

Robert  Anning  Bell 

D.  Y.  Cameron 

Thomas  Maitland  Cleland 

Gordon  Craig 

Julius  Diez 

George  Wharton  Edwards 

Fritz  Erler 

William  Edgar  Fisher 

Edwin  Davis  French 

Bertram  G.  Goodhue 

Harry  E.  Goodhue 


T.  B.  Hapgood,  Jr. 
Harold  E.  Nelson 
Edmund  H.  New 
Henry  Ospovat 
Armand  Rassenfosse 
Louis  Rhead 
Byam  Shaw 
Joseph  W.  Simpson 
Hans  Thoma 
Thomas  Tryon 
Bernard  Wenig 


WILLIAM     PHILLIPS    BARRETT 


In  Great  Britain  every  family  of  rank  has  its  arms  suitably  emblazoned 
on  its  harnesses,  carriages,  tnble-plate,  dining-chairs,  and,  of  course,  in  its 
library.     When    a    new   coach    is   ordered,   or   a    new   set   of  harnesses,    the 

45 


coach-builder  or  the  harness-maker  furnish  the  proper  trimmings.  So 
milord's  stationer  fixes  up  the  family  letter-paper  and  the  family  book-plate. 
Somebody  has  to  lick  into  some  semblance  of  artistic  unity  the  records  of 
prowess  of  our  medieval  ancestors.  In  the  workshops  of  Messrs.  "  Bumpus 
Limited,"  Mr.  William  Phillips  Barrett  performs  this  more  or  less  genial 
task.  He  has  signed  some  ninety  to  one  hundred  designs,  which  were 
cut  by  the  workmen  in  the  Bumpus  establishment.  Mr.  Barrett's  designs 
are  not  wholly  without  merit,  but  they  so  apparently  lack  the  spark  of 
vitality  and  their  execution  is  in  many  cases  so  hard  and  mechanical  that  one 
is  inclined  more  to  pity  than  to  praise.  In  the  pages  of  the  London 
Ex  Libris  Journal,  that  industrious  encourager  of  the  ordinary  and  banal  in 
book-plate  design,  Mr.  Barrett's  work  is  exploited  at  length.  Vol.  II., 
page  8i,  et  seq. 


Lady  Gerard 
Hon.  E.  Byng 
Mr.  Jack  Cummings 
Lord  Manners 
Lady  Sarah  Wilson 
Lady  Charles  Bentinck 
H.  Somers  Somerset,  Esq. 
Lady  K.  Somerset 

1897 
J.  Watson  Armstrong,  Esq. 
Lady  Angela  Forbes 
Mrs.  Panmure  Gordon 
Hon.  Mrs.  Charles  Harbord 
Miss  Beatrice  Dudley  Smith 
The  Marchioness  of  Headfort 
Miss  Audrey  Battye 
Lady  Beatrix  Taylour 
Miss  Rachel  Duncombe 
J.  S.  Forbes,  Esq. 


Lady  Maud  Warrender 

Lady  de  Trafford 

Hon.  Marie  Hay 

The  Countess  Mar  and  Kel 

Mrs.  Brocklebank 

The  Viscountess  Wolseley 

Robertson  Lawson,  Esq. 


Baron  Konigswarter 
Baroness  Konigswarter 
Miss  Van  Wart 
Reginald  Nicholson,  Esq. 
Lady  Sybil  Carden 
The  Countess  of  Lathom 

1899 
The  Duchess  of  Bedford 
Miss  Eadith  Walker  (Australia) 
The  Countess  of  Wilton 
The  Viscountess  Chelsea 
Mrs.  Duff 
J.  E.  Bailie,  Esq. 
Lord  Bolton 
Lady  Margaret  Levett 
Miss  Howell 
Basil  Levett,  Esq. 
Mrs.  Harcourt  Powell 
Lady  Ampthill 

J.  &  E.  (Mr.  and  Mrs.  Muller) 
Bishop  Lefroy  of  Lahore 
Mrs.  McCalmont 
Miss  Gabrielle  de  Montgeon 

1900 
Her  Royal  Highness  Princess  Victoria 

of  Great  Britain 
The  Earl  of  Lathom 


I  goo 
The  Duke  of  Beaufort 
Hon.  Mrs.  Gervase  Beckett 
The  Countess  of  Gosford 
The  Marchioness  of  Bath 
Mrs.  Lee  Pilkington 
Freda  and  Winifreda  Armstrong 
Mrs.  Wernher 
Miss  Freda  ViUiers 
Miss  Muriel  Dudley  Smith 
Lord  Kenyon 
Lady  Savile  Crossley 
Hon.  Hilda  Chichester 
Lady  Dickson-Poynder 
Sir  John  Dickson-Poynder 
Gervase  Beckett,  Esq. 
Canon  Stanton 
The  Duke  of  Portland 
Mrs.  Alfred  Harmsworth 
Mrs.  Arthur  Wilson 
J.  Hutchinson,  Esq. 
Hon.  Mrs.  G.  Kenyon 
Captain  Noble 
Edward  Hubbuck,  Esq. 


1900 
R.  L.  Foster,  Esq. 
Royal  Naval  and  Military 
Will  Watson  Armstrong 
Masonic  Supreme  Council,  33° 

(Large  and  small) 
The  Earl  of  Shaftesbury 
Miss  Barclay  (Wood  block  Armorial) 
H.  A.  Harben,  Esq. 

1901 

Ivor  Fergusson,  Esq. 

Harold  Harmsworth,  Esq. 

Lord  Haddo 

Lady  Mary  Cayley 

Mrs.  Sheridan  (Frampton  Court) 

The  Marchioness  Anglesey 

Sir  Charles  Cust 

The  Countess  of  Derby 

Lady  Hillingdon 

Lady  Alice  Stanley 

Lady  Clementine  Walsh 

R.  C.  Donaldson-Hudson,  Esq. 


ROBERT    ANNING    BELL 


Robert  Anning  Bell,  Director  of  the  Art  School  of  the  Liverpool 
University,  is  the  most  prolific  designer  of  artistic  picture-plates  in  Great 
Britain.  His  work  has  long  been  the  envy  of  amateurs,  and  no  collection 
can  claim  to  be  representative  without  some  examples  of  his  work.  His 
book-plates  have  been  reproduced  and  commented  on  in  almost  all  pub- 
lished articles  on  the  general  subject.  The  book-plate  number  of  the 
"Studio,"  Simpson's  Book  of  Book-plates,  Bowdoin's  "Rise  of  the  Book- 
plate," Zur  Westen's  "Ex  Libris"  (Leipzig,  1901),  all  show  examples. 
His  work  is  characterized  by  dignity  and  grace,  is  in  good  drawing,  and  has 
an  average  of  excellence  unsurpassed.     The  list  is  complete  to  July  i,  1902. 


1  Walter  George  Bell 

2  Rainald  William  Knightley 

Goddard 

3  G.  R.  Dennis 

4  Barry  Eric  Odell  Pain 

5  Jane  Patterson  (circular) 


6  Jane  Patterson  (rectangular) 

7  Christabel  A.  Frampton 

8  Frederick  Brown 

9  Matt.  Gossett 

10  Arthur  Trevithin  Nowell 

11  Edward  Priolean  Warren 


12  Frederick  Leighton  (small) 

13  Frederick  Leighton  (large) 

14  Arthur  Melbourne  Sutthery 

15  fuliet  Caroline  Fox  Pym 

16  Yolande  Sylvia  Mina  Noble  Pym 

17  Florence  and  William  Parkinson 

18  Nora  Beatrice  Dicksee 

19  Felsted  School 

20  Arthur  E.  Bartlett 

21  The  Hon.  Mabel  de  Grey 

22  Geraldine,  Countess  of  Mayo 

23  Walter  E.  Lloyd 

24  George  Benjamin  Bullock-Barker 

25  George  Benjamin  Bullock-Barker 

26  Thomas  Elsley 

27  University  College,  Liverpool 

28  Rowland  Plumbe 

29  Rennell  Rodd 

30  Alicia,  Lady  Glomis 

31  H.  E.  John  Browne 

32  Barham  House 
^^  Cecil  Rhodes 

34  Mander  Bros. 

35  Hon.  Harriet  Borthwick 

36  Beatrice  Patterson 

37  Walter  Drew 

38  Walter  Raleigh 

39  Theodule,  Comte  de  Grammont 

40  Joshua  Sing 

41  Alice  Emma  Wilkinson 

42  James  Easterbrook 


43  Theodore  Mander 

44  W.  H.  Booth 

45  Hector  Munro,  1897 

46  Margaret  Wilton 

47  L.  and  M.  S. 

48  Gardner  S.  Bazley 

49  Ex  Libris  Sodalium  Academi- 

corum  Apud  Lyrpul 

50  Roberti  A.  S.  Macfie 

51  Richard  T.  Beckett 

52  Edmund  Rathbone,  1898 

53  Croy  Grammont,  1898 

54  A.  J.  Stratton 

55  John  Duncan 

56  Helen     Woollgar     de     Gaudrion 

Verrall 

57  C.  Kohn 

58  C.  J.  R.  Armandale 

59  Wm.  Renton  Prior 

60  H.  and  O.  Lewis 

61  Herbert  Lyndon 

62  Johanna  Birkenruth 

63  Fanny  Dove  Harriet  Lister 

64  Mary  Josephine  Stratton 

65  Louise  Frances  Foster 

66  Caleb  Margerison 

67  Ellis  Roberts 

68  Marie  Clay 

69  Fanny  Nicholson 

70  L.  and  E.  Stokes 

71  Alfred  Cecil  Gathorne  Hardy 


D. 


D.    Y.    CAMERON 

Y.   Cameron  is  one  of  the  most  prominent  artists  in  the  so-called 


"Glasgow  School  of  Designers."  His  plates  are  nearly  all  etchings  and  are 
decidedly  his  own  in  subjects  and  treatment.  They  are  most  excellent 
productions.  His  work  has  been  most  fully  exploited  in  Simpson's 
"Book  of  Book-plates,"  Vol.  I.,  No.  4.  There  are  eleven  designs 
listed  in  Fincham,  and  the  "Studio"  Book-plate  number  reproduces 
four. 


Donald  &  Grace  Cameron  Sw; 
Robert  M.  Mann 
John  Roberton 


John  Maclaren 

Roberta  Elliot  S.  Paterson 

Joanna  Cameron 


Jeanie  Ure  MacLaurin  Robert  G.  Paterson 

Katherine  Cameron  R.  Y.  Pickering,  1895 

].  Craig  Annan  R.  Y.  Pickering  (another  design) 

fames  Arthur  John  A.  Downie 

John  Macartney  Wilson  Beatrice  H.  MacLaurin 

James  Henry  Todd  Sir  James  Bell,  Bart. 

James  J.  Maclehose 

THOMAS    MAITLAND    CLELAND 

Mr.  Cleland  is  a  young  man  who  has  an  innate  appreciation  for 
decorative  effect  and,  what  is  more  to  the  purpose,  an  ability  to  apply  it. 
For  some  years  past  his  skill  in  typographic  arrangement  has  added  much 
to  the  products  of  several  of  our  more  advanced  publishers;  by  more 
advanced  I  mean  those  with  a  knowledge  and  belief  that  it  is  good  business 
to  offer  to  the  public  books  that  delight  the  eye  as  well  as  the  mind.  Mr. 
Cleland  has  done  many  decorative  bits  by  way  of  head-  and  tail-pieces  and 
initials.  There  are  also  to  his  credit  a  baker's  dozen  of  book-plates.  These 
last  are  intensely  decorative,  and  to  class  them  as  pictorial  really  does  them 
injustice.     They  are  thoroughly  conventional  and  quite  medieval  in  feeling. 

Sara  Stockwell  Clark  Irving  and  Sissie  Lehman 

Herbert  Wood  Adams  Louis  and  Bertha  Stillings 

Laura  Gaston  Finley  Alice  and  Arthur  Cahn 

Elmer  Bragg  Adams  Rubie  La  Lande  de  Ferriere 

Lewis  W.  Hatch  Maurice  M.  Sternberger 

Angus  Frederick  Mackay  George  Louis  Beer 
Julian  Pierce  Smith 

GORDON    CRAIG 

"The  Page"  has  been  so  much  exploited  in  the  public  press  that  it 
seems  supererogation  to  write  anything  more  about  it  or  Gordon  Craig,  one 
the  embodiment  of  the  other.  Mr.  Craig  is  very  much  of  an  all-round 
young  man;  brought  up  in  the  atmosphere  of  the  theater  and  of  books 
and  pictures,  he  has  dabbled  in  all  to  some  purpose.  He  has  a  clear-cut 
individuality  that  differentiates  him  and  his — work,  I  was  going  say,  but 
perhaps  play  would  be  better,  for  Mr.  Craig  is  one  of  those  inconsequential 
chaps  that  seem  to  take  things  as  they  come  and  be  chipper  and  happy  and 
youthful-hearted  with  all.  His  book-plate  work  is  of  the  meat-ax  variety 
and  inspired  by  the  rough  wood-cuts  of  the  early  engravers.  His  work  has 
the  air  of  the  poseur  that  is  as  balm  to  the  heart  of  the  dilettante. 

James  Pryde,  1898  Ellen  Terrj-  (small),  map 

M.  P.  (Margaret  Palgrave)  K.  D.  (Mrs.  Kitty  Downing),  1900 

Ellen  Terry  (large),  map  Katie  Black 

49 


E.  T.,  1899  (Ellen  Terry) 

[ames  Corbet 

V.  C.  (Vincent  Corbet) 

R.  C.  (Robin  Craig) 

H.  F.  (Helen  Fox) 

C.  M.  (Carl  Michaelis) 

Nina  (Lady  Corbet) 

B.  (Beatrice  Irwin) 

C.  D.  (Charles  Dalmon) 
W.  H.  Downing 

M.  M.  (Maud  Meredith) 

A.  L.  (Aimee  Lowther) 

William  Winter 

Roche  (Charles  E.  Roche),  igoo 

S.  B.  B.  (S.  B.  Brereton) 

C.  (Christopher  St.  John) 

G.  C.  (Gordon  Craie;) 

Edy  (Edith  Craig) 

J.  D.  (John  Drew) 

L.  W.,  1897  (Lucy  Wilson) 

Oliver  Bath,  1899 

E.  D.  L.  (monogram)  (Edie  Lane) 

G.  C,  1898  (Gordon  Craig) 

Martin  Shaw 

Miss  Norman 

Lucy  Wilson 

E.  C.  (Edith  Craig) 


Ellen  Terry 

Ellen  Terry 

Marion  Terry 

Cissie  Loftus 

Evelyn  Smalley 

Edith  Craig 

C.  B.  P.  (Mrs.  Brown-Potter) 

Tommy  Norman 

Jess  Dorynne 

Jess  Dorynne 

Rosie  Craig 

G.  C.  (Gordon  Craig) 

Gordon  Craig 

Gordon  Craig 

Gordon  Craig 

Mrs.  Enthoven 

Audrey  Campbell 

M.  Tolemache 

G.  Tolemache 

J.  B.  R.  (Madam  Bell-Rauche) 

M.  Fox 

Anna  Held 

Pamela  Colman  Smith 

Katie  Dunham 

Haldone  McFall 

N.  F.  D.  (Mrs.  Dryhurst) 


JULIUS    DIEZ 

The  work  of  Julius  Diez  is  rich  with  the  flavor  of  medievalism  and 
full  decorative  effect.  The  example  shown  in  this  book,  the  plate  for  Max 
Ostenrieder,  is  a  little  masterpiece  and  an  ideal  book-plate.  Mr.  Diez  has 
done  others  much  more  elaborate,  and  with  well-drawn  and  well  thought- 
out  motifs,  but  none  to  excel  the  bit  referred  to. 


Bayerischer  Kunstgewerbe-Verein 

Gustav  Euprius 

Max  Ostenrieder 

Gustav  Wolff 

Richard  Hildebrandt 

August  Drumm 

Luise  Riggaur 

[oseph  Flokmann 

Dr.  Jul.  Fekler 


Julie  von  Boschinger 
Georg  Hirth 
Adolf  Beermann 
Julius  Diez 
Paul  Scharff 
Elise  Diez 
Georg  Buchner 
Franz  Langheinrich 
Paul  Meyer 


GEORGE    WHARTON    EDWARDS 

Mr.  Edwards  has  made  a  large  number  of  very  excellent  book-cover 
designs  and  has  decorated  several  volumes  throughout.  One  of  the  most 
beautiful  of  the  latter  is  Spenser's  Epithalamion,  published  by  Dodd, 
Mead  &  Company.  Mr.  Edwards  has  done  a  few  other  book-plates  in 
addition  to  those  listed  here,  but  these  are  all  he  wishes  to  stand  sponsor  for. 

Harvard  University,  Arnold  Arbor-  George  Washington  Cram 

etum,  1892  Tudor  Jenks 

Grolier  Club  G.  W.  Drake 
Author's  Club  Library 


FRITZ    ERLER 

Fritz  Erler  has  been  one  of  the  leading  contributors  to  that  prince  of 
German  art  periodicals,  "  Jugend,"  since  its  beginning.  His  book-plates  are., 
characterized  by  the  same  imaginative  spirit  and  weirdness  that  appear  in  all 
his  work.  His  work  is  often  reproduced  in  soft  tints  with  excellent  effect. 
In  the  third  volume  of  "Jugend"  there  was  a  double  page  given  to  prints 
of  Mr.  Erler's  book-plates. 


Carl  Mayr 

Arthur  Scott 
T.  Neisser 
Hugo  Wolf 
C.  Schoenfield 
Sigmund  Schott 
M.  Souchon 
S.  Fuld 
Albert  Schott 


Ulrich  Putze 

Max  Mayr 

Toni  Neisser 

M.  von  B. 

M.  von  B. 

F.  Gerhauser 

H.  Marx 

Gustav  Eberius  Liebermann 


WILLIAM    EDGAR    FISHER 

Mr.  Fisher's  work  is  fully  described  in  the  leading  article  in  this  book 
by  Mr.  Bowdoin.  The  list  of  plates  is  in  chronological  order  and  is 
complete  to  July  i,  1902. 


1  William  Edgar  Fisher 

2  William  Edgar  Fisher 

3  William  Edgar  Fisher 

4  Winifred  Knight 

5  William  Lincoln  Ballenge 

6  Stanley  Shepard 

7  William  A.  Brodie 

8  Silvanus  Macy 


9  Edna  B.  Stockhouse 

10  Leila  H.  Cole 

11  C.  A.  W.  (C.  A.  Wheelock) 

12  Lulu  Thomas  Wear 

13  Gertrude  T.  Wheeler 

14  Guild  of  the  Holy  Child,    Peeks- 
kill,  N.  Y. 

15  Elizabeth  Langdon 


1 6  John  Charles  Gage 

17  Sallie  A.  Richards 

18  Albert  Edgar  Hodgkinson 

19  Samuel  N.  Hudson 

20  John  Elliot  Richards 

21  "Ellen  E.  Langdon 

22  Maria  Page  Barnes 

23  Maie  Bruce  Douglas 

24  Sara  Grace  Bell 

25  Edward  A.  Wilson 

26  Peyton  C.  Crenshaw 

27  Marion  Maude  Lindsey 

28  Chauncey  E.  Wheeler 

29  Bi  Lauda  (secret  society) 

30  Mary  N.  Lewis 

31  Elizabeth  Allen 

32  The  Studio  Club 

33  (Dr.)  I.  N.  Wear 

34  William  Chauncey  Langdon 

35  Charles  S.  Young 

36  Frederic  H.  Church 


37  John  M.  Harrison 

38  Les  Chats  Noirs 

39  George  H.  Phelps 

40  Mary  Speer 

41  Julia  Locke  Frame 

42  John  D.  Farrand 

43  Lucy  P.  Winton 

44  Winifred  Knight 

45  Mary  Cheney  Elwood 

46  Ernest  Orchard 

47  Reta  L.  Adams 

48  Edward  C.  Brown 

49  Adeline  Cameron 

50  T.  Frank  Fisher 

51  Edna  B.  Stockhouse 

52  John  Le  Droit  Langdon 

53  "W.  J.  Awty 

54  Henry  McLallen 

55  William  Edward  Ramsay 

56  David  S.  Calhoun 

57  Walter  W.  Wait 


EDWIN    DAVIS    FRENCH 

The  book-plates  of  Edwin  Davis  French  are  the  most  esteemed  of 
those  of  our  present  American  engravers.  His  work  is  decidedly  the 
vogue  among  those  who  can  afford  the  best,  and  is  much  prized  by  collect- 
ors. There  has  rarely  been  an  article  on  book-plates  published  in  the 
past  five  years  or  more  that  has  not  contained  a  eulogy  of  his  work,  and 
there  have  been  reproductions  galore,  both  from  the  original  coppers  and 
by  half-tone.  There  is  no  American  designer  whose  work  is  so  eagerly 
sought  by  the  collector  or  for  which  larger  returns  are  asked  in  exchanges. 
Mr.  French  usually  designs  the  work  he  engraves,  but  in  several  instances 
he  has  cut  plates  from  the  designs  of  others.  Such  instances  are  noted  in 
the  list.  Mr.  French's  work  is  characterized  by  daintiness  of  design  and 
great  beauty  of  execution.  He  is  unquestionably  a  master  of  the  graver 
in  decorative  work.  In  the  following  list  those  numbered  133  and  below 
are  from  Mr.  Lemperly's  well-known  list,  and  credit  is  hereby  rendered  him 
therefor.  The  rest  of  the  list  is  made  up  from  various  sources  and  has 
been  very  carefully  compared  and  is  believed  to  be  accurate  and  complete, 
with  the  few  exceptions  noted,  to  July  i,  1902. 


174  Adams,  Ruth 
141   Allen,  Charles    Dexter,  1899 
a     with  portrait 


b     with  book-case 
c     with  one  club   emblem 
changed 


170  Alexander,  Amy  B. 

124 

Brown,       Georgette       (adapted 

187  Adams,  Frances  Amelia,   1901 

from   Parisian  trade-card  i8th 

199  Adams,  Edward  Dean,  1902 

century) 

207  Adams,  Ernest  Kempton,   1902 

a     with  border 

44  Alexander,  Charles  B.,  1895 

b     without  border 

II  Andrews,  William  Loring,  1894 

176 

Borden,  M.  C.  D. 

76  Andrews,  William  Loring,  Com- 

^n 

Borden,  M.  C.  D.  (small) 

pliments  of,  1896 

139 

Boas,  Emil  L. 

195  Adriance     Memorial     Library, 

80 

Borland,  Harriet  Blair,  1896 

Poughkeepsie,  1902 

166 

Buck,     John     H.     (designed  by 

III   Armour,   George  Allison,    1898 

Miss  Marion  Buck) 

98  Author's      Club     (designed     by 

171 

Bullock,  James  Wilson,   1900 

Geo.      Wharton      Edwards), 

180 

Barnes,  John  Sanford 

1897 

65 

Bull,  WiUiam  Lanman,  1895 

10  Avery,     In    Memoriam,    Ellen 

147 

Blackwell,    Henry    (monogram), 

Walters,  1894 

1899 

142  Bakewell,  Allan  C. 

150 

Blackwell,   Henry,   Compliments 

43  Bakewell,  A.  C,  1895 

of,  1900 

36  Bates,  James  Hale,  1894 

91 

Carnegie,  Lucy  Coleman,   1897 

53  Barger,  Samuel  F.,  1895 

96 

Candidati,  1897 

17  Baillie,  W.  E.,  1894 

7 

Chew,  Beverly,  1894 

20  Blackwell,  Henry,   1894 

47 

Chew,  Beverly,  1895 

16  Bierstadt,  Edward  Hale,  1894 

41 

Church,  E.  D.,   1895 

42  Bernheim,  A.  C,  1895 

59 

Champaign  Public  Library,  1895 

60  Biltmoris,  Ex    Libris    (designed 

8  Clark,  Charles  E.,  M.  D.,  1894 

by    owner,  George    W.    Van- 

9 

Clark,      Charles      E.,      M.     D. 

derbilt),  1895 

(smaller),  1894 

67  Bar  of  the  City  of  New  York, 

18 

Colonial  Dames  of  America 

Association  of  the  (Chas.  H. 

28  Coutant  (Dr.),  Richard  B.,  1894 

Woodbury's     library,    i89<5), 

66 

Clough,  Micajah  Pratt,  1896 

1896 

8.3 

The  John  Crerar  Library,   Chi- 

118  Bar  of  the  City  of  New  York, 

cago,  1896 

Association    of  the  (the  John 

97 

Connell,  William,   1897 

E.      Burrill      Fund,      1897), 

100 

Child    Memorial    Library    (Har- 

1896 

vard),  1897 

119  Bar  of  the  City  of  New  York, 

125 

Cox,   Jennings  Stockton,    i8g8 

Association    of    the  (Gift  of 

51 

Clough,  Micajah  P. 

James  C.  Carter) 

156 

Chenev,  Alice  S.,  1900 

69  Biltmoris,    Ex    Libris  (like  60, 

167 

Chamberlain,      Elizabeth      (The 

but  smaller),  1896 

Orchards),  1900 

87  Bliss,  Catherine  A.,  1896 

145 

Cushing 

104  Burke,  Edward  F.,  1897 

22 

Deats,  Hiram  Edmund,  1S94 

133   Bradshaw,  Sidney  Ernest,   1898 

131 

Dana,   Charles   A.    (designed    by 

I   Brainerd,  Helen  Elvira,  189^ 

A.  Kay  Womrath),  1898 

4  Brainerd,  Helen  Elvira,  1894 

70 

Dows,  Tracy,  1896 

i68 
198 
21 
^9 
30 
32 
64 
89 
1 10 
121 
4Q 
•36 
185 

202 
181 

186 


184 


De  Vinne,  Tlieo.  L.  (designed  by 

George  Fletcher  Babb),  1895 
Denver  Club,  The  (designed  by 

Cora  E.  Sargent),  1896 
Duryee,    George   Van    Wagenen 

and  Margaret  Van  Nest,  1899 
Ellsworth,  James  William,  1895 
Emmet,  The  Collection  of  Thos. 

Addis,     M.     D.,     New    York 

Public  Library,   1896 
French,  Mary  Brainerd,   1893 
French,     Edwin     Davis     (Vola- 

piik),   1893 
E.    D.   F.    (French,    Edwin   Da- 
vis), 1893 

a     E.  D.  F.,     without     en- 
closing frame 
h     with  frame 
c     Edwin  Davis  French 
Foote,  Charles  B.,  1894 
Foot,  Margaret  H.,  1900 
Furman,  Dorothy,  1902 
Grolier  Club,  The,   1894 
Goodwin,   James   J.,   1894 
Goodwin,  Francis,  1894 
Godfrey,  Jonathan,  1894 
Goodrich,  J.  King,  1895 
Gray,  AdeJle  Webber,   1897 
Goldsmith,  Abraham,  1898 
Goldsmith,  James  A.,  1898 
Goodwin,   James  J.,   1895 
Gale,  Edward  Courtland,   1899 
Gage,    Mabel    Carleton    (design 

by  owner),  1901 
Gray,   John  Chipman,   1902 
Harvard,    Society   of  the    Signet 

(designed  by  B.  G.  Goodhue) 
Harvard     Union     (designed     by 

B.  G.  Goodhue),  1901 
a     1901 

h     In      Memoriam      Henry 
Baldwin  Hyde 
Harbor     Hill      (Mrs.     Clarence 

McKay) 
Haber,  Louis  I.,   1894 


106  Hartshorn,   Mary   Minturn    (de- 
signed   by    Miss    E.     Brown), 

55  Havemeyer,    William    Frederick 
(designed  by  Thomas  Tryon), 

73  Herter,       Christian       Archibald, 
1896 
149  Horsford,  Cornelia 
155  Hopkins  (Maj.),  Robert  Emmet 

23  Holden,  Edwin  B.,  1894 

24  Holden,  Edwin  B.  (smaller) 

61  H(olden),  E(mily),  (Miss),  1895 

25  Holden,  Alice  C.,   1894 

26  Holden,  Edwin  R.,  1894 
164  James,  Walter  B.,  M.  D. 

33   Kalbfleish,      Charles      Conover, 

1894 
90  O.  A.  K(ahn),  1897 
94  Kingsbury,    Edith    Davies     (de- 
signed by  Lilian  C.  Westcott), 
1897 
113  Lambert,  Samuel  W.,  1898 
85  Lamson,    Edwin    Ruth\'en    (de- 
signed    by     E.     H.     Garrett), 
1896 
173  Earner,  John  B. 
35  Lawrence,  Emily  Hoe,  1894 
6  Leggett,  Cora  Artemisia,  1894 
15  LefFerts,  Marshall  Clifford,  1894 
39  L.  B.  L(6wenstein),  1895 
105   Lefferts,  Mollie  Cozine,  1897 
102  Lemperly,  Paul,  1897 
169  Loveland,    John    W.     and    Lee 

Partridge 
159  Livermore,   John  R. 
172  Little,  Arthur  West 
192  Long   Island    Historical   Society, 
1900 
a     Storrs    Memorial    Fund, 

1900 
h     Ecclesiastical  History 
148  K.   D.   M.   (Mackay,  Mrs.  Clar- 
ence)   (small    monogram    with 
crest) 


58  Marshall,  Frank  Evans,  1895 
37  Mausergh,     Richard     Southcote, 

1895 
95  Marshall,  Julian,  1897 
188  Merriman,   Roger  Bigelow 
40  Metropolitan    Museum    of   Art, 
1895 
a     Cruger  mansion 
b     new  building 
54  Messenger,  Maria  Gerard,   1895 
85  Messenger,  Maria  Gerard,   1896 
a     gift-plate    with    book-pile 
b     with   view  of  Pleasantville 
library 
74  Morgan,  A.  J.,  1896 
92  McCarter,  Robert  H.,  1896 
115  Medicis,    Ex    Libris    (Gushing), 

1898 
45   McKee,  Thomas  Jefferson 
151   Messenger,     Maria  Gerard    and 
Elizabeth   Chamberlain     (The 
Orchards),  1899 
68  V.  E.  M(acy) 
a  V.  E.  M. 

b  Macy,    Valentine    Everit    and 
Edith  Carpenter,  1896 
140  Moore,    Louise    Taylor    Harts- 

horne 
128  Nimick,       Florence       Coleman, 

1898 
163  New    York    Yacht    Club,    The 
(after  sketch  by  the  late  Wal- 
ter B.  Owen) 

12  Oxford  Club,  The,  Lynn,  1894 
57  Osborne,     Thomas     Mott     and 

Agnes  Devens,  1895 

62  Odd    Volumes,    The    Club    of, 

1895 

13  Players,  The  (designed  by  How- 

ard Pyle),  1894 
50  Pyne,  M.  Taylor,   1895 

63  Pine,  Percy  Rivington,  1895 
81    Plummet,  Mary  Emma,    1896 

107  Pyne,  M.  Taylor,   1897 
204  Pyne,  R.  Stockton,  1902 


108  Princeton     University,     Library 

of,  1897 
132  Prescott,  Eva  Snow  Smith,   1898 
160  Porter,  Nathan  T.,  1900 
189  Phillips,    William      (design     ar- 
ranged from   1 6th  century  ar- 
morial    by     P.     de    Chaignon 
la  Rose),  1901 
14  Reid,  Whitelaw,  1894 
34  Rowe,  Henry  Sherburne,  1894 
103  Ranney,    Henry    Clay    and    Hel- 
en Burgess,  1897 
191    Richards,    Walter   Davis,    1825- 

1877,  1901 
158  Robinson,  C.  L.  F. 
99  Sabin,  Ruth  Mary,  1897 

109  Sampson,     Florence     de     Wolfe 

1898 
52  Sherwin,  Henry  A.,  1895 

77  Sedgwick,  Robert,  1896 

82  Sherwin,    Henry    A.    (similar   to 

52,  but  smaller),   1896 
117  Sherwood,  Samuel  Smith,  1898 
129  Scripps,  James  Edmund,  1898 
loi   Skinner,  Mark,  Library 

134  Stickney,    Edward    Swan    (Chi- 

cago Historical  Society),   1898 
112  Stratton,  A.  Dwight,  1898 
93  Stearns,  John  Lloyd,  1897 
71   Sovereign  (designed  by  Thomas 

Tryon)  (crown),  1896 
79  Sovereign  (designed  by  Thomas 
Tryon)  (eagle),  1896 
193  Society  of  Colonial  Wars,   Con- 
necticut, 1 901 
179  Sherman,    William    Watts     (de- 
sign by  B.  G.  Goodhue),  1901 

78  Taylor,  Chas.  H.,   jr.   (designed 

by  E.  B.  Bird),  1896 

135  Talmage,  John  F. 

152  Treadwell  Library  (Mass.  Gen- 
eral Hospital)  (designed  by 
B.  G.  Goodhue) 

127  Thorne,  Katherine  Cecil  San- 
ford,  1898 


122  Twentieth     Century    Club     (de-  130 

signed  by  Mrs.   Evelyn   Rum-  137 

sey  Carey),  1898  182 

157  Union  League  Club  144 

154  University  Club,  Cleveland  146 

48  Vail,  Henry  H.,  1895  161 

116  Vassar   Alumnae    Historical    As-  175 

sociation,   1898  178 

196  Varnum  (Gen.),  James  M.  120 

128  Van    Wagenen,     Frederick     W.,  75 

1898  27 

31   Warner,  Beverly,  M.  A.,  1894  72 

114  Wendell,  Barrett,  1898 

126  Williams,  E.   P.,   1898 


Wood,  Arnold,  1898 
Wood,  Ethel  Hartshorne 
Worcester  Art  Museum,    1901 
A.  W.  (Arnold  Wood),  1899 
Williams,   John  Skelton 
Wodell,  Silas 

Woodward,  S.  Walter,  1900 
Whitin,  Sarah  Elizabeth 
Winthrop,  Henry  Rogers,   1898 
Willets,  Howard,  1896 
Woodbury,    John   Page,   1894 
(Yale)    The    Eldward   Tompkins 
McLaughlin    Memorial    Prize 
in   English  Composition,   1896 


BERTRAM    G.    GOODHUE 

Bertram  Grosvenor  Goodhue  is  a  Boston  architect  who  has  made 
several  book-plates  of  merit.  One  made  for  a  department  of  Harvard 
University  is  particularly  rich  in  decorative  effect,  and  a  design  of  which 
one  would  not  grow  weary.  Others  of  Mr.  Goodhue's  designs  are  treated 
in  broad  line  and  might  have  been  reproduced  very  effectively  by  wood 
engravmg. 


A.  Squire 

Udolpho  Snead 

Rachel  Norton 

Harvard  University  Library,  Lowell 

Memorial  Library  of  Romance 

Literature 
H.  L  K.  (H.  L  Kimball) 


Library  of  the  Harvard  Union 
Society  of  the  Signet,  Harvard 
.Treadwell    Library,    Mass.    General 

Hospital 
M.  A.  de  Wolfe  Howe 
William  Watts  Sherman 


HARRY    E.    GOODHUE 

The  few  book-plates  designed  by  Harry  E.  Goodhue  are  mostly  of  the 
"girl  and  book"  type.  In  the  plate  for  Jessy  McClellan  the  young 
woman  appears  to  be  sorry  she  "done  it,"  or  else  is  quite  discouraged  at  the 
idea  of  lifting  her  folio  romance  into  her  lap.  Mr.  Goodhue's  most  pleasing 
design  is  that  for  Constance  Alexander,  shown  on  page  27. 


Amy  M.  Sacker 

Constance  Grosvenor  Alexander 

Jessy  Trumbull  McClellan 


June  Eldredge 

Juliet  Armstrong  Collins 


T.    B.    HAPGOOD,    Jr. 


Mr.  Hapgood  is  a  decorative  designer  in  Boston,  and  his  work  on  the 
covers  of  various  periodicals  and  catalogs  is  well  known.  Plate  No.  5 
was  submitted  in  competition  and  took  second  prize.  It  has  never  been 
reproduced.  No.  i  was  reproduced  in  "The  Red  Letter,"  No.  2  in  the 
book-plate  number  of  "The  Studio,"  as  was  also  No.  4.  No.  14  has  not 
been  reproduced.  No.  15  was  originally  made  as  a  printer's  mark  and  was 
so  used.     It  was  later  altered  to  serve  as  a  book-plate. 


1  Rev.  George  Fred  Daniels,  1896 

2  Norris  Hastings  Laughton,  1897 

3  A.  F.  Skenkelberger,  1897 

4  Theodore    Brown  Hapgood,  Jr., 

1897 

5  Society    of   Mayflower  Descend- 

ants in  Mass.,  1897 

6  Rufus  William  Sprague,  Jr.,  1891 

7  Frances  Louise  Allen,  1898 


8  Andrew  C.  Wheelwright,  1898 

9  Andrew  C.  Wheelwright,  1898 

10  Richard  Gorham  Badger,  1898 

11  Thursday  Club,  1899 

12  North      Brookfield     Free     Public 

Library,  1900 

13  Edwin  Osgood  Grover,  1900 

14  Harriet  Manning  Whitcomb,  19CO 

15  Carl  Heintzemann 


HAROLD    E.    NELSON 

Many  of  the  figures  in  the  book-plates  by  Harold  Nelson  are  of  the 
attenuated  pre-Raphaelite  type,  but  there  are  others  one  can  believe 
really  once  lived.  The  frontispiece  to  the  book-plate  number  of  "The 
Studio"  is  a  beautiful  decorative  bit  by  Mr.  Nelson,  and  makes  us  quite 
willing  to  forgive  him  some  of  his  more  eccentric  designs.  The  plate 
referred  to  is  enhanced  in  beauty  by  a  few  lines  of  gold  judiciously  used. 
The  musical  plate  on  page  18  of  this  volume  is  a  pleasing  one. 

Horace  Shaw 


Mary  L.  Oldfield 

Edith  A.  Kingsford 

Robert  H.  Smith 

Fanny  Nelson 

Ellen  Maguire 

Edward  Lomax 

Ernest  Scott  Fardell,  M.A, 

Ernest  Scott  Fardell,  M.A 

Geoffery  Parkyn 

A.  Ludlow  j 

James  Wilmar 

Bedford  College  Library 


Harold  Edward  Hughes  Nelson 

Lady  Literary  Society 

Mark  Nelson 

Evelyn  Wynne  Parton 

A.  A.  Wood 

Maude  Burton 

Marion  H.  Spielmann 

Alfred  Anteshed 

Jane  Nelson 

Leopold  d'Estreville  Lenfestey 


EDMUND    H.    NEW 

The  book-plate  designs  by  Mr.  New  are  in  a  class  by  themselves.     No 
one  else  has  worked  quite  the  field  occupied  by  this  artist.     Mr.  New  has 

57 


used  architecture  for  the  motifs  of  a  series  of  unusually  pleasing  plates.  He 
has  treated  in  a  most  decorative  way  whole  buildings  as  well  as  details,  door- 
ways, and  so  forth.  His  plates  are  particularly  adapted  to  the  dignified 
old  houses  that  contain  the  libraries  for  which  they  were  made.  Mr. 
New  has  not  limited  himself  to  this  field,  as  he  has  done  a  number 
of  designs  with  no  architectural  suggestion.  His  work  in  book  illustra- 
tion and  decoration  is  of  a  most  delightful  quality,  and  is  well  known  to  all 
lovers  of  black  and  white.  A  number  of  his  book-plate  designs  were 
reproduced  and  commented  upon  in  Simpson's  Book  of  Book-plates,  Vol. 
n.,  No.  I.  The  book-plate  number  of  "The  Studio"  also  showed  some 
of  his  designs.     The  list  is  in  chronological  order  and  complete. 


Herbert  New 

Rev.  Richard  R.  Philpots 

Rees  Price  (wood  cut) 

Montague  Fordham  (wood  cut) 

C.  Elkin  Mathews 

Dr.  Edmundi  Atkinson 

Edward  Morton 

Frederic  Chapman 

William  and  Catherine  Childs 

Beatrice  Alcock 

Arthur  Fowler 

No.  I  Highbury  Terrace 

Julia  Sharpe 

Herbert  B.  Pollard 


William   Malin    Roscoe   (three  sizes), 

1897 
Edward  Evershed  Dendy 
y.  G.  Gardner-Brown 
Phil.  Norman 
Edward  Le  Breton  Martin 
Roberti     Saundby,    M.    D.,      LL.  D. 

(two  sizes),  1900 
George  Lewis  Burton 
George  Cave,  1900 
Alexander      Millington      Sing      (two 

sizes) 
Peter  Jones 
Edward  Alfred  Cockayne 


HENRY    OSPOVAT 

Henry  Ospovat  is  a  young  Russian  artist  residing  in  London.  He 
has  done  some  superb  decorative  work  for  the  sonnets  and  poems  of 
Shakespeare  published  by  John  Lane.  His  book-plates  are  precious  bits  of 
decoration  worthy  the  adoration  of  all  lovers  of  the  beautiful.  There  have 
been  only  a  few  reproductions  of  them.  The  book-plate  number  of  "The 
Studio"  shows  several  and   Fincham's    "Artists  and  Engravers"    lists  two. 


Arthur  and  Jessie  Guthrie,  i8g8 
James  and  Maud  Robertson,  1898 
John  and  Jessie  Hoy,  1898 
Arthur  Guthrie,  1898 
Walter  Crane 
Charles  Rowley 
James  Hoy 
Jomes  Hoy 


Frank  Iliffe  Hoy 

John  and  Jessie  Hoy  (second  design) 

George  Moore 

A.  Emrys  Jones 

Fred  Beech 

J.  H.  Reynolds 

T.  C.  Abbott 

Frank  and  Marie  Hoy 


ARMAND    RASSENFOSSE 

Armand  Rassenfosse  is  a  resident  of  Liege,  therefore,  presumably,  a 
Belgian  and  a  subject  of  the  German  Empire.  But  as  stone  walls  do  not 
always  a  prison  make,  so  frontiers  do  not  always  mark  the  nationality  of  art 
and  letters.  Mr.  Rassenfosse  is  distinctly  French  in  his  feeling  and  artistic 
point  of  view.  Perhaps  I  should  rather  say  Parisian,  for  it  is  of  the  Latin 
Quartier  and  the  Beaux  Arts  that  his  work  breathes.  His  designs  are  almost 
entirely  of  nude  femininity  and  his  method  of  expression  the  etching.  He 
has  made  some  eight  or  ten  charming  bits,  full  of  life  and  chic — I  was 
going  to  say,  frou-frou,  but  that  would  be  a  misnomer,  for  his  models  are 
innocent  of  gowns  or  lingerie.  Their  spirit  and  beauty  of  execution  is  high, 
but  as  book-plate  designs — well,  it's  a  bit  like  champagne  for  breakfast. 

Alex,  von  Winiwarter  Alb.  Mockel 

Alfred  Lavachery,  1890  H.  v.  W.  (Hans  von  Winiwarter) 

M.  R.  (Marie  Rassenfosse)  Three  designs  without  names 

A.  R.  (Armand  Rassenfosse)  D'Alb.  Neuville 


LOUIS   RHEAD 

The  illustrator  of  "Pilgrim's  Progress"  and  the  "Idylls  of  the  King" 
needs  no  introduction  to  the  average  book-lover,  and  the  hearts  of  the 
poster-collectors  throb  at  his  name.  Mr.  Rhead  is  an  American  of  English 
birth  and  a  resident  of  one  of  the  suburbs  of  greater  Gotham.  His 
decorative  work  has  been  long  and  favorably  known,  and  his  book-plates 
can  but  add  to  his  reputation.  He  has  done  but  fifteen,  and  two  of  these 
are  yet  to  be  reproduced,  but  some  examples  of  his  work  are  in  most 
collections. 

Gertrude  Tozier  Chisholni  W.  H.  Shir-Cliff,  1897 

James  Henry  Darlington  Jean  Irvine  Struthers 

Samuel  Moody  Haskins  Stephen  S.  Yates 

Le  Roy  W.  Kingman  David  Turnure 

Frank  ].  Pool  Ivy  Club  (Princeton  University) 

Louis  Rhead  (symbolic)  Rector  Kerr  Fox 

Louis  Rhead  (fishing)  George  Weed  Barhydt 

Katharine  Rhead 


BYAM   SHAW 

The  one  or  two  book-plate  designs  by  Mr.  Shaw  that  have  been 
published  show  a  magnificent  imaginative  conception  and  makes  the  lover 
of  the  beautiful  ardently  wish  for  "more."     The  one  for  Isabella  Hunter, 

59 


on  page  216  of   Vol.  I.  of  the  "International  Studio,"  is  at  the  head  of  its 
class.     Mr.  Shaw's   other   line-drawing-s    and    hi 
and  weirdness  of  design  that 


C.  E.  Pyke-Nott 
Frank  Lynn  Jenkins 
Isabella  R.  Hunter 


irawings    and    his   paintings   have   a    richness 
is  very  attractive. 

Laurence  Koe 
Mr.  Claye 


JOSEPH   W.   SIMPSON 


Mr.  Simpson,  of  Edinburgh,  is  a  young  Scotchman  of  infinite  ambition 
and  generous  talent.  He  is  not  only  a  clever  designer  of  book-plates,  but 
he  has  a  magazine  to  exploit  his  schemes  and  theories  of  art.  This  is 
reputed  to  be  a  quarterly,  but  it  is  erratic,  like  its  sponsor,  and  issues  "once 
in  a  while."  Mr.  Simpson's  designs  are  full  of  feeling  and  rich  in 
treatment.  About  twenty-five  of  these  have  seen  the  light  and  are  prized 
by  the  lovers  of  modernity. 


Robert  Bateman,  1897 

Kris  Allsopp,  1897 

Kris  Allsopp,  1897 

J.  A.  Whish,  1898 

James  Dick,  1898 

F.  N.  and  A.  W.  Hepworth,  1898 

Cissie  Allsopp,  1898 

].  W.  Simpson 

Charles  Holme 

Julio  Guardia 

K.  E.,  Graf  zu   Leiningen-Wester- 

burg,  1898 
Maud  H.  Scott,  1808 


A.  Gaston  Masson 
Geo.  May  Elwood 
T.  F.  M.  Williamson, 
(Gordon)  Craig 
Mabel  Waterson 
Fiffi  Kuhn 
Maisie  Phillips 
Samuel  Linsley 
Pauline  Stone 
T.  N.  Foulis 
Joseph  W.  Simpson 
W.  M.  Stone 


HANS    THOMA 

Hans  Thoma  is  a  painter  of  national  reputation  in  Germany  who  has 
thought  it  not  beneath  his  dignity  to  do  book-plate  designs.  This  by 
way  of  recreation  or  to  strengthen  his  line  for  more  pretentious  efforts. 
His  designs  are  along  classic  and  dignified  lines.  His  own  personal  plate 
is  a  weird  one;  on  it  is  a  nude  youth  bearing  the  torch  of  knowledge  and 
riding  a  gruesome  dragon. 

Dr.  S.  Herxheimer,  1898  August  Rasor 

Hans  Thoma  Martin  Elersheim 

Adolph  von  Gross,  1896  S.  Herrheimer 

Dr.  Henry  Thode  Sofie  Kiichler 


Hermann  Levi 
Dr.  Otto  Fiser 
Luisa  Countess  Erdody 


R.  Spier 

J.  A.  Beringer 

Karl  and  Maria  Grunelius 


THOMAS   TRYON 

Mr.  Tryon's  work  has  been  described  at  length  in  another  part  of  this 
book  and  a  large  part  of  his  designs  reproduced. 


William  Frederick  Havermeyer  (en- 
graved by  E.  D:  French),  1892 

James  Seymour  Tryon,   1892 

Arnold  William  Brunner,    1893 

Frank  Jean  Pool,   1893 

"Sovereign,"  Crown  design  (en- 
graved by  E.  D.  French),  1896 

"Sovereign,"  Eagle  design  (en- 
graved by  E.  D.  French),  1896 

Annah  M.  Fellows,  1896 

George  Elder  Marcus,  1897 


Loyall  Farragut,   1898 
Mary  Tryon  Stone,    1900 
Janet  Tryon  Stone,  1900 
Rachel     Norton      Tryon 

Stone,  1900 
Mary   Tryon   Stone^  (2d), 

1900 

J.  C.  M.  (Miss  J.  M.  Cox),  1901 
Library  of  the  Boys'  Club,  1902 
Willis  Steell,  1902 


same 

design 

in 

different 

sizes 


BERNHARD  WENIG 

Bernhard  Wenig  is  a  comparatively  newcomer  in  the  field  of  book- 
plate design,  but  he  has  already  established  for  himself  an  enviable  reputa- 
tion in  Germany,  and  his  work  is  meeting  with  a  growing  appreciation  by 
collectors  in  this  country.  Mr.  Wenig's  general  manner  is  that  of  the  old 
engraved  wood  block,  bold  and  more  or  less  crude  of  line,  but  full  of  virility. 
Most  of  his  work  is  reproduced  in  black  on  white,  but  in  a  few  instances  he 
has  used  a  color  or  two  with  good  effect.  His  choice  of  subjects  is  varied, 
but  the  studious  bookman  of  the  middle  ages  seems  to  be  uppermost  in  his 
heart  and  mind.  Mr.  Wenig  has  made  one  plate  for  a  child,  a  small  boy, 
that  is  among  the  best  half-dozen  of  designs  for  children. 


Baroness  May  v.  Feilitzsch 
Bernhard  Wenig,  1897 
Anton  Wenig,  1897 
Joh.  Nep.  Eser,  1899 
E.  W.  J.  Gartner,  1900 
Richard  Schulz,  1900 
Mathilde  Schulz 
Heinrich  Stumcke 
Karl   Emich,   Graf  zu   Leiningen- 
Westerburg,  1901 


Gunter  Otto  Schulz 

Gertrud  Schulz 

Dr.  Adolph  Brenk 

Carl  Selzer 

Lorenz  Wenig 

Countess  Sofie  du  Moulin 

Max  H.  Meyer 

Dr.  Fr.  Weinitz 

H.  von  Sicherer 

Hugo  Schmid 


Julie  Speyer 
Louis  King 
Claire  von  Frerichs 
Franz  Menter 
L.  Frankenstein 
Dr.  Hans  Lichtenfelt 
Heinrich  and  Hedwig  Brelauer 
Fr.  Schade 

F.  Schaffener 

G.  Drobner 

H.  R.  C.  Hirzee 
Wolfgang  Quincke 
Alfred  Misterck 
Ludwig  Stivner 
Max  Landmann 
Hans  Jaeger 
Dr.  Louis  Merck 
Richard  Jaeger 


Rosalie  Eeginbrodt 

Georg  Ortner 

Melaine  Dorny 

Anna  Furstin 

Ludwig  Klug 

Doris  von  Heyl 

Frieherr  Max  He)  1 

Carl  R.  Peiner 

David  von  Flansemann 

Paulus  Museum,  Worms 

(Mrs.)  Hedwig  Smidt 

Wilhelm  Karl  Herams 

(Mrs.)  Julie  Wassermann 

Dr.  C.  Schonborn 

Maria  von  Ernst 

Wolfgang  Quincke 

Walther  Frieherr  von  Seckendorff 

Wilhelm  von  Schon 


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